Talk:Samrup Rachna

This page should not be speedy deleted because...
This page should not be speedily deleted because... (your reason here) --115.186.161.236 (talk) 08:20, 21 April 2012 (UTC) Because it is a new innovative art and is widely covered by electronic media in Pakistan as such from Geo Aman ki Asha, ARY and even the Voice Of America. It is an Art for Peace and never attempted before. Some right wing extremist consider it as a conspiracy about the two nation theory which lead to creation of Pakistan and India on the basis of religious and cultural divide. Its not at all advertising or spam Wiki is free to alter its wording as it likes but its deletion will affect the cause of peace and collaboration in the south asia.

This page should not be speedy deleted because...
This page should not be speedily deleted because... (your reason here) --39.47.176.188 (talk) 09:33, 21 April 2012 (UTC) Here is another reason : Please read this authentic report of Voice of America : http://www.voanews.com/urdu/news/pakistan-calligraphy-13april12-147282185.html This will give you some insight to the subject and the issue.
 * Thanks for the new reference. I've removed the proposed deletion, but I still think more references are needed from WP:Reliable sources to establish notability. Scopecreep (talk) 09:51, 21 April 2012 (UTC)

number of new reference are added including print media of India and Pakistan like : Hindustan Times, The News International , Express Tribune, Daily Dawn , Pakistan Observer and BBC Urdu. — Preceding unsigned comment added by 39.47.108.70 (talk) 10:06, 26 March 2016 (UTC)

Language for Peace in South Asia
Samrup Rachna is an effort to promote peace in the region of South Asian especially between Pakistan and India. One of the strongest way to promote peace and tolerance between two hostile nations is to either find commonalities between the two or to highlight the existing commonalities. Samrup Rachna art is created by Dr Syed Mohammed Anwer to highlight the already existing commonalities between India and Pakistan. There are many things common between India and Pakistan but the most profound of them all is the Hindustani language that is spoken in the region of South Asia. Hindustani language is divided by the religious extremist of both the sides by using two different scripts i.e Devanagri and Nastaliq for writing one and the same language. This association of religions with different script of a same language is a fundamental mistake. So one of the aims of Samrup Rachna, the calligraphic art is to disassociate the association of religion with any of the script of Hindi-Urdu. Dr. Anwer — writing with distinct passion — speaks of the great deal that is common between Hindi and Urdu as languages, something he designates as ‘apni boli’, and yet how the fact that they are ordinarily written in different scripts divides them. Insistently, he keeps asking the question in this section of his album: “Does language have a religion?” True, he says, the devanagari script “keeps us connected with the rich culture of Hinduism, its deep philosophical and humanist treasure of words”, while “the nastaliq script (this I need to add, is more a style or genre of the Persian script than a script in itself) expands its horizon, its power to adopt and to acquire words from the entire Persian and Arab world….” But the fact that in both scripts the language we write — and speak — is essentially the same, should be seen as a “symbol of strength, unity and diversity of the common lingual and cultural heritage of our samaaj.”Brijinder Nath Goswamy — Preceding unsigned comment added by 39.47.108.70 (talk) 10:02, 26 March 2016 (UTC)

Linguistic-cum-calligraphic art book 'Samrup Rachna'
A unique linguistic-cum-calligraphic art book, ‘Samrup Rachna’ — Calligraphic Expression of Apni Boli [Hindi-Urdu], was launched at the Mother Languages Literature Festival at the Lok Virsa.

An expression of immense love with Hindi and Urdu, called ‘Apni Boli’, by author Dr. Syed Mohammed Anwer, the book contains over 60 visual impressions of words with cultural connotations created out of the Hindi Devanagari script and the Urdu Nastaliq script.

Beautifully presented in hardback form the book is as much a socio-political comment as a coffee table art book. Dr. Anwer learnt the Devanagari script from his mother. The two scripts are essentially “the same language, written differently” as explained by the artist’s mother.

The purpose of the book is to focus on the fact that irrespective of how the language is written, it is still ‘apni boli’, with the caveat that our inability to understand the other half of our own language renders us all half illiterate.

Another purpose of the book is to highlight the fact that association of any language or its script with any particular religion is a fundamental mistake. Language has no religion.

The book can also be used as ‘easy-to-learn’ book for the ‘other’ script of ‘Apni Boli’ [Hindi-Urdu] by its speakers.

With an almost identical spoken language, Samrup Rachna is a critical step to encourage people on both sides of the border to acknowledge the similarities and to take steps to understand both scripts. — Preceding unsigned comment added by 39.47.108.70 (talk) 10:15, 26 March 2016 (UTC)

Samrup Rachna cosmopolitanism and national identities
Samrup Rachna: Calligraphic Expression of Apni Boli [Hindi-Urdu] Acrylic by Syed Mohammed Anwer. Islamabad: Wahdat Foundation, 2015

Samrup Rachna (lit. creation of the same form) is a contemporary collection of calligraphic works. The calligrapher writes the Hindi/Urdu word divālī (Diwali, the traditional Hindu festival of lights) in both Nastaliq and Devanagari scripts and combines the two into the shape of a lamp.

The calligraphic fusion of scripts here is worth our particular notice. While Nastaliq has a strong tradition of calligraphy across the Persianate world, Devanagari does not. Nevertheless, these two scripts had both been used in precolonial times to write a group of North-Indian dialects that had blood relations with each other. Out of this group of tongues were born the modern Hindi/Urdu. As the linguistic boundary between Hindi and Urdu stiffened with the rise of nationalism in the subcontinent in the 19th century, scripts came to be more and more distinctively associated with one particular language and community: Devanagari with Hindi and the Hindus, Nastaliq with Urdu and the Muslims. The idea of a shared history of languages and scripts, however, remains alive. By connecting ‘Hindi-Urdu’ with a hyphen and by calling it apni boli (apanī bolī, one’s own language), the calligrapher provides a specimen illustrating the popular awareness of a common linguistic identity. — Preceding unsigned comment added by 39.40.4.29 (talk) 08:01, 23 September 2018 (UTC)

A major common denominator between India and Pakistan A gem in the unexplored realm of script combination, Samrup Rachna is a minimalist calligraphy technique, in which the lines that spell out the word, also qualify as the pictorial denotation of the word. The purpose of this calligraphic work is to highlight one of the major common denominators between India and Pakistan: language.  — Preceding unsigned comment added by 182.177.30.173 (talk) 07:18, 15 October 2018 (UTC)

डॉ॰ अनवर की 'समरूप रचना' के बारे में दो शब्द
अनवर जी की 'समरूप रचना' के बारे में मुझे इण्ट्अनॅट पे उर्दू की रस्म-ए-ख़त 'नस्तालीक़' के बारे में खोजते हुए मालूम हुआ। फ़ौरन ही मैंने उनको मुबारकबाद देनी चाही। कितनी बेहद ताज्जुब की बात है, नहीं, कि २६ साल की उम्र से पहले मुझे यह एहसास ही नहीं हो पाया, सही मायनों में, कि पाकिस्तान और हिन्दुस्तान की भाषाएँ दरअसल एक ही हैं- बस अलग-अलग लिपियों में लिखी? दिल्ली में जामिया मिलिया की छपी कुछ किताबों से मैंने नस्तालीक़ पढ़नी शुरू-शुरू ही करी थी, कि 'समरूप रचना' के बारे में पता चला। भाषिक और सैद्धान्तिक तौरों से तो अनवर जी की यह मुहिम सराहनीय है ही- दोनों मुल्कों (मेरे खुद की नज़र में, अगर भाषाओं को ही असल मापदण्ड माना जाए, देश-देश में फ़र्क़ का, तो आज भी एक ही सयुंक्त मुल्क़) के बीच समानताओं को उभारने के ज़रिए आपसी प्रेम की ओर क़दम बढ़ाने की- खुद चित्रकार होने की हैसियत से भी यह बेशक कह सकता हूँ, कि कलात्मक तौर से भी अनवर जी का यह आविष्कार बहुत ही आकर्षक पाया जाता है। कुछ तस्वीरें तो, किताब में, अपने आप में ही सचमुच बहुत खूबसूरत हैं, और जब दोनों लिपियों का ज्ञान भी साथ में होने लगता है, लुत्फ़ एक-दम दोगुना हो जाता है। मेरे दादाजी भी नस्तालीक़ जानते हैं। उस ज़माने में, मेरा ख़याल है, सभी, या ज़्यादातर लोग, दोनों देवनागरी और नस्तालीक़ पढ़-लिख पाते थे। दिल्ली में पैदा हुए, यह झुठला नहीं सकता मैं, कि कुछ अंश मेरा नस्तालीक़ में ही लिखा हुआ है। अनवर जी का, एक बार फिर, बहुत-बहुत शुक्रिया अदा करना चाहूँगा।- सस्नेह, अर्जुन जैन

COI tag (April 2023)
Besides the overly-promotional tone of the article, it includes many images of/by the subject whose copyright would belong to the artist or those related to him. Also there are images by the artist, and links to this article, to unrelated wikipedia articles by newly-created wikipedia accounts such as. Abecedare (talk) 16:18, 19 April 2023 (UTC)

Name
The first sentence in the lead reads: Samrup Rachna is a form of calligraphic art. However, this source states that Samrup Rachna is a contemporary collection of calligraphic works and that by connecting ‘Hindi-Urdu’ with a hyphen and by calling it apni boli, the calligrapher provides a specimen illustrating the popular awareness of a common linguistic identity. So it seems, to me, that the artist is calling his specific style of calligraphy apni boli and according to this source his book featuring his 60 works of calligraphy is called Samrup Rachna: Apni Boli' and by calling the calligraphy style Samrup Rachna is WP:OR. Would anyone else also have any thoughts about this? Eucalyptusmint (talk) 20:50, 19 April 2023 (UTC)